Nedko Solakov had already tried twice to combine early works and the most recent production. At the Galleria Continua in San Gimignano, where we met him, the bulgarian artist is now attempting again to pieced together such artistic path from works as The day shall come (1988), Family and Associates (1991) and the newest pieces as the video Silent (but as rich as only bulgarian language can be) F words (2009).
Dating back to the Eighties and to the beginning of the NIneties, just before and at the threshold of the collapse of the communist bloc, and depicting a corrupted and beastly bulgarian society, the works we encounter at the entrance of the gallery have an inner connection with the self ironic video Silent, in which a murmuring Solakov addresses the government building, yelling words whose meaning we can only presume since we can't hear him. A sarcastic comment on his own disenchanted hopes.
His approach, however, is never cheekily political; the only project through which he has taken a dig at the bulgarian politics' immorality is A recent story with ghosts, a pair of high-heeled shoes (a couple of floods) and some other mischevious acts, an installation he presented in 2008 at Prospect 1 in New Orleans, a failed attempt to find a kind of political responsible for and response to a few tragic events. Ironically, the only scapegoat he could address was the mischievous ghost of a medieval emperor.
We met Nedko Solakov the day before the opening of his new solo show at the Galleria Continua. We talked about his early works but also about his way to story-telling, his passionate interest in cinema and in the way movies built stereotypes, jokes, dychotomies; about iconography, winks and different layer of quotations in his works, about irony and laughing in a foreign language - about public art and the way he has ventured in the field of publicness even in private space with the exhibition Emotion (without masks) at the Institut Mathildenhoehe in Darmstadt.